This project extends Theory of Transition. The title refers to the day I found site no. 42, one of the ruined houses documented in Theory of Transition. 

The work repeats that day, without seeking to correct the memory, only to will its return, in the sense of Nietzsche's eternal return. A graphite drawing on canvas, made in situ at the scale of my body, traces the plan of this ruin from memory. This plan is transformed into architecture: a steel structure of 1.80 × 1.80 × 1.80 m, corresponding to the maximum reach of my body in every direction. This architecture is then disassembled into fifteen sculptures, each built from the width of my shoulders, 40 cm. The same plan is repeated at another scale in a series of small 30 cm sculptures, the length of my forearm. Each return of the plan, at another scale, produces a different form, as Gilles Deleuze describes in Difference and Repetition. 

The sculptures are cast in concrete and marble powder and placed in water on steel trays. As long as it remains in the water, the concrete changes colour and releases salt, and the steel rusts. The transformation has no fixed end: it lasts as long as the sculptures remain wet. 

After Theory of Transition, in which the documented ruins were reconstructed at the scale of the body, Fifth of September makes the material a record of time: the concrete transforms as long as it is in water. On completing this work, I realised that what I remembered most was the climate of the documented ruins: the temperature, the density of the air, the season. This observation leads to (change of state) (2022), in which climate becomes the agent of transformation.

Fifth of September of Two Thousand Sixteen , 2019

Sculpture, steel, rod, white concrete, marmoline, water.

Galería Hilario Galguera, Mexico City